Minnesota Opera's The Magic Flute Program - Duluth

| THE MAGIC FLUTE

2015–2016 Season

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We are proud to partner with the Minnesota Opera to bring you this unique performance.

10/09/2015 5:37:05 PM

Minnesota Opera is grateful for the warm welcome from the Duluth arts and culture community.

Thank you to the following partners for their support of this production.

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

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WELCOME LETTER Welcome to Minnesota Opera!

I am delighted to welcome you to the DECC for a special performance of Mozart's last and perhaps most well-known opera, The Magic Flute. We have received such a warm welcome from this community, and I’d like to thank everyone who has helped us make this performance successful.

Today’s unique production of The Magic Flute, originally created by Komische Oper Berlin and the British theater group 1927, has won international acclaim and is being performed in only three American cities: Los Angeles, Saint Paul and Duluth.

In addition to today’s performance, Minnesota Opera staff has conducted free workshops, master classes and other educational programs at nearly twenty sites over the past six weeks throughout northeast Minnesota, and we’ve so enjoyed getting to know and help serve this community.

This performance would not be possible without the support of a generous touring grant from the Minnesota State Arts Board, as well as all of our donors and supporters, and we hope that today’s performance sets the stage for Minnesota Opera becoming a more regular part of northeastern Minnesota’s vibrant cultural life.

Though we perform primarily at Saint Paul’s Ordway Center for the Performing Arts, we are truly MINNESOTA Opera, and we would love to see you at the Ordway for one of our upcoming productions, which include a reprise of The Magic Flute (November 14 – 22), the beautiful and lyrical Rusalka ( January 23 – 31), Puccini’s classic Tosca (March 12 – 26), and an exciting world premiere, based on the bestselling novel by Stephen King, The Shining (May 7 – 15).

Thank you for your support in welcoming Minnesota Opera to Duluth. Enjoy the show and we hope to see you again, and for many years to come!

What can be said about Mozart’s The Magic Flute that has not already been said? It is one of the great operas of the 18th century; one of the most beloved comedies in the operatic repertoire; and a piece written by one of the great composers.

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

4 Synopsis

5 The Magic Flute

6 About the Opera 8 Composer 9 1927 10 The Artists 13 M eet the Artist: Andrew Lovato 14 Minnesota Opera Board of Directors, Staff and Volunteers

NINA M. ARCHABAL General Director

The Magic Flute was premiered in 1791 at the Freihaus-Theater auf der Wieden in Vienna. Mozart had fallen out of favor with the aristocracy and took on a commission from Emanuel Schikaneder to set his libretto to music. It was a different kind of “opera,” although Mozart was quite comfortable with composing a Singspiel (essentially an 18th-century Broadway musical). That we are still going to see this extraordinary mash-up of comedy slapstick, romantic fantasy, Masonic traditions and a foreshadowing of the great German operas of the future, is an amazing testament to the genius that is Mozart.

After more than 200 years of astounding productions of The Magic Flute, what new ideas can we possibly have? Today we are treated to an extraordinary and unique production originally conceived

by Barrie Kosky of the Komische Oper Berlin in collaboration with the British avant-garde theater company 1927. Director Suzanne Andrade and animator Paul Barritt have taken in cinematic influences from silent movies of the 1920s from such films as The Cabinet of Dr. Caligari and Nosferatu and the animation of Max Fleischer. Louise Brooks in the 1929 film Pandora’s Box was also factored into this new production. The animation was painstaking work but the result is a riot of images that will surely delight you. The singers interact with the projections in a wonderful way, becoming part of this visual feast. I hope you enjoy this groundbreaking, fresh and fun production of Mozart’s classic.

DALE A. JOHNSON Artistic Director

Contents

15 Institutional Giving Large-print and Braille programs are available at the Ticket Office.

SYNOPSIS

Pursued by a serpent, Prince Tamino falls faint from exhaustion. Three Ladies, in the service of the Queen of the Night, slay the monster, and then admire Tamino’s beauty.

They fight over who will remain with him while the others fetch the Queen. Not coming to any resolution, all three depart.

Tamino revives and observes the approach of Papageno, who catches birds for the Queen.

In the course of becoming acquainted, Papageno claims he killed the serpent. The Three Ladies return and seal his mouth for telling the lie. They show Tamino a portrait of the Queen’s daughter, Pamina, and Tamino immediately falls in love. The Queen of the Night appears and asks he rescue Pamina from the temple of the tyrant Sarastro, where she is being held captive.

As a reward, the young couple will be wed.

Tamino agrees enthusiastically, and the Three Ladies give him a magic flute for protection. Restoring Papageno’s power of speech, they order him to accompany Tamino. He receives a set of magic bells.

Three Spirits will guide their journey.

Monostatos admits his continued lust for Pamina. Meanwhile, the Queen berates her daughter — the seat of power rests with the all-powerful Circle of the Sun, which was wrongly taken from her and given to Sarastro.

Pamina must kill him and get the Circle back — if she doesn’t, her mother will disown her. Sarastro appears and forgives Pamina’s inclusion in the Queen’s wicked plot.

Elsewhere, Tamino comes upon the inner sanctuary, but is barred entrance. He is told that he has been deceived by a mother’s tears — Sarastro is not the evil person she described. Back in Monostatos’ lair, Pamina and Papageno face recapture, but the despot and his slaves are charmed by the magic bells, allowing their escape.

Tamino and Papageno continue to wait out their oath of silence, augmented by thirst and fasting. The Three Spirits then pay a visit and offer refreshments. Pamina is distressed

by Tamino’s silence. She fears his love has vanished and considers taking her own life.

Sarastro enters, and Pamina admits her attempt to flee, but only to rebuff Monostatos’ amorous advance. Still, she misses her mother, but Sarastro proclaims there is still much for her to learn from his tutelage. Tamino and Pamina finally meet, while Monostatos is punished for his dereliction.

Intermission

Act II Sarastro announces Tamino’s wish to enter the inner sanctum and his willingness to undergo the trials of initiation. Papageno is more reluctant, but is promised a pretty wife, Papagena, as his reward. The first test is one of silence, made difficult when the Three Ladies attempt to intercede.

Papageno tries to catch up with Tamino but is denied entry to the temple. A beautiful woman, Papagena, briefly appears, but is whisked away — Papageno is not yet worthy.

Demented by Tamino’s seemingly broken vow, Pamina wanders aimlessly. The Three Spirits take her to Tamino, who is about to undergo the trials of water and fire. Pamina and Tamino reaffirm their love, and she resolves to go through the ordeals at his side.

Missing Papagena terribly, Papageno is about to hang himself, but is saved by the Three Spirits. To his great joy, Papagena is restored to him, and they rejoice in a future together.

Now in league with the dark side, Monostatos leads the Queen and her ladies in one last attempt against Sarastro, but all are vanquished. Tamino and Pamina usher in a new era of truth, beauty and wisdom.

Pamina will be mine!

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

Act I

At Sarastro’s temple, Monostatos is charged with guarding Pamina, whom he treats harshly. Papageno enters, and both men startle one another. Papageno recognizes Pamina as the Queen’s daughter and tells her of the ardent young prince who has been sent to her rescue. She takes pleasure in the prospect of love, and Papageno too pines for his perfect mate.

MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY EMANUEL SCHIKANEDER World premiere at the Theater auf der Wieden, Vienna September 30, 1791

DECC SYMPHONY HALL, DULUTH | OCTOBER 31, 2015 Sung in German with English translations projected above the stage ESTIMATED RUN-TIME

Creative Team

2 hours and 41 minutes, including one 20-minute intermission.

Intermission will occur approximately 66 minutes into the opera.

Michael Christie

CONDUCTOR

STAGE DIRECTOR

Cast

Tobias Ribitzki in order of vocal appearance

TAMINO A PRINCE

PAMINA DAUGHTER OF THE QUEEN

David Walton

Siena Forest

THREE LADIES ATTENDANTS TO THE QUEEN

Tricia Van Ee, Shannon Prickett, Victoria Vargas

PAPAGENO A BIRDCATCHER

THREE SPIRITS

THE QUEEN OF THE NIGHT

Jeni Houser

MONOSTATOS OVERSEER AT THE TEMPLE

John Robert Lindsey

ANIMATION DESIGNER

Nykeigh Larson, Fletcher Zavadil, Riley Eddins

Paul Barritt

SARASTRO HIGH PRIEST OF THE SUN

1927 (Suzanne Andrade and Paul Barritt) and Barrie Kosky

MEN IN ARMOR

Esther Bialas

PAPAGENA

Raymond W. Steveson Jr.

Benjamin Sieverding

Andrew Lovato

PRODUCTION

Suzanne Andrade and Barrie Kosky for the Komische Oper Berlin

Robb Asklof, Ben Crickenberger

Tracey Engleman

CONCEPT

SET AND COSTUME DESIGNER LIGHTING DESIGN ASSOCIATE

ASSISTANT DIRECTOR

David Radamés Toro

ASSISTANT CONDUCTOR

Jonathan Brandani

CHORUSMASTER

Robert Ainsley

CHILDREN’S CHORUSMASTER

Dale Kruse

RÉPÉTITEURS

Jessica Hall, Lindsay Woodward

PRODUCTION STAGE MANAGER

Kerry Masek

VIDEO STAGE MANAGER

Hannah Holthaus

ENGLISH CAPTIONS

Floyd Anderson

WIG AND MAKEUP DESIGNER

David Zimmerman

Maestro Michael Christie donates his services for Minnesota Opera’s Duluth Residency and today’s performance.

The Magic Flute by W. A. Mozart; edited for the New Mozart Edition by Gernot Gruber and Alfred Orel; used by arrangement with European American Music ▴ conducts April 14, 15, 17, 18, 19, 21 • conducts April 20, 22 Distributors Company, sole U.S. and Canadian agent for Baerenreiter, publisher and copyright owner.

A production of the Komische Oper Berlin; presented in coproduction with Los Angeles Opera.

The appearances of the Resident Artists are made possible, in part, by the Virginia L. Stringer Endowment Fund for the Minnesota Opera Resident Artist Program.

Atmospheric haze and strobe-like effects will be used in this production.

Minnesota Opera is grateful for the warm welcome from the Duluth arts and culture community.

Thank you to the following partners for their support of this production.

This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.

| THE MAGIC FLUTE

Scenery constructed by the Minnesota Opera Scenic Studios. Costumes constructed by the Los Angeles Opera Costume Shop.

The appearances of Tracey Engleman, Jeni Houser, John Robert Lindsey, Benjamin Sieverding, Victoria Vargas and David Walton, regional finalists; and Andrew Lovato, Shannon Prickett and Tricia Van Ee, district finalists of the Metropolitan Opera National Council Auditions, are made possible through a Minnesota Opera Endowment Fund established for Artist Enhancement by Barbara White Bemis.

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ABOUT THE OPERA

F

ollowing the opening of Così fan tutte in January 1790, Wolfgang Amadeus Mozart entered a very uncertain period in his life. The new production had achieved only five performances before the death of Joseph ii closed all of Vienna’s theaters for an official period of mourning. Although Così was briefly revived during the summer, there was yet no word from the new emperor, Leopold ii, regarding the composer’s future at court. Mozart boldly took matters into his own hands when, that fall, he followed Leopold to Frankfurt, where he was to be crowned Holy Roman Emperor. Hoping to get the attention of the new monarch,

Mozart tried to attract notice at the local theater as an audience member and also with a public concert, but it was sparsely attended.

On his way back, the composer managed to arrange a meeting with Elector Karl Theodor (responsible for the premiere of Idomeneo in 1781) and the visiting King and Queen of Naples, whose two daughters had just been married to Leopold’s two sons (and, in Habsburg tradition, their first cousins). Even though he was a leading composer in Vienna, Mozart had not been invited to participate at the royal wedding, but through one of the sons, the future Emperor Francis ii, he tried a backdoor approach. The enterprising composer put out the suggestion that he might become the court’s second Kapellmeister devoted to church music since Antonio Salieri, as Mozart was quick to point out, had limited experience in that domain. The proposal had little impact.

Leopold did belatedly confirm his previous position as composer for royal entertainments, and in January 1791 Mozart was asked to create a series of German dances for a Viennese ball. Other small commissions included works for such oddities as the glass harmonica and the mechanical clock, but little else surfaced. An attractive offer came from England for a year-long contract which included two new operas, but Mozart delayed the visit due to Constanze’s pregnancy and delicate health. Franz Joseph Haydn went instead, enjoyed a legendary visit as the toast of the town and produced his famous “London” symphonies.

It’s no wonder Mozart jumped at the chance to compose a popular opera for the suburban Theater auf der Wieden when director Emanuel Schikaneder made the pitch.

Though not well-experienced in the genre of Zauberoper, he could hardly refuse the offer, as the Viennese musical scene was transitioning from aristocratic to bourgeois circles. Two more projects were contracted shortly thereafter, a requiem mass and an unexpected commission from Leopold for an opera seria which would become La clemenza di Tito.

Mozart was definitely back in the game.

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Schikaneder was not only helping the cash-poor composer, he was also serving his own needs. Also in somewhat precarious financial straits thanks to his grandiose theater

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ABOUT THE OPERA

Zauberoper could be quite a mixed bag, and the sources for the libretto are numerous and varied, resulting in virtually unsurpassed analyses by stymied musicologists. Little documentation survives since Mozart and Schikaneder were in close daily contact as the work evolved and didn’t require written correspondence. Nor are we certain when the collaboration first began — a letter sent during Mozart’s Frankfurt visit makes reference to one of the opera’s numbers, but no formal contract or urtext of the libretto survives. The formula for public opera was much less strict than for those written for the Burgtheater, freeing the two artists to draw from a wealth of ideas. The magical elements appear to have been borrowed from a set of fairy tales collected by Christoph Martin Wieland, entitled Dschinnistan, which included Lulu, oder Die Zauberflöte (Lulu, or The Magic Flute) by Jakob August Liebeskind. Parallels can also be drawn to Chrétien de Troyes’ 12th-century ballad, Yvain, with regard to the monster-fighting scene and the inclusion of a hybrid creature of man and beast. There are suggestions of William Shakespeare’s The Tempest in the characters of Sarastro (Prospero), Pamina (Miranda), Tamino (Ferdinand) and Papageno (Caliban), not to mention the spirit of the Queen of the Night in Shakespeare’s vanquished witch Sycorax and the Three Spirits embodying Prospero’s fairy-servant Ariel. Further elements seem to have been drawn from pantomime, moralizing puppet plays and Italian commedia dell’arte, along with several borrowings from Mozart and Schikaneder’s earlier works.

Yet the bulk of The Magic Flute appears to have been inspired by Abbé Jean Terrasson’s Egyptian tale Séthos, which describes the progress and religious transformation of its princely title character. This novel, which Terrasson tried to pass off as actual history, also served as a “bible” for Freemasonry, a quasi-religious society founded in early 18th-century England and widely practiced all over Europe during the Age of Enlightenment. At that time, just about every significant male leader, either directly involved in politics or as a member of the greater artistic cognoscenti, was a Freemason.

Fearing the eclipse of Christianity, the Vatican issued a Papal Bull denouncing the order, and Empress Maria Theresa had tried to suppress the sect, her severity only to be repudiated by her more permissive son Joseph after her death in 1780. An essay, On the Mysteries of the Egyptians, by a leading Mason (and former metallurgist to the empress) Ignaz von Born also served as inspiration, and The Magic Flute soon became considered an allegory for the plight of Freemasonry, with Born as Sarastro, Maria Theresa as the Queen of the Night, Joseph as Tamino and the Viennese people as Pamina. The opera’s intricate inherent symbolism continues to be heavily deconstructed to this day.

Mozart and Schikaneder’s first order of business was to delight and entertain their ticket buyers, but were they also trying to send a deeper message? It is difficult to explain away the sudden shift from what begins as a standard “rescue opera” to one of deeper solemnity. One alternate theory (now largely discredited) is that Mozart

and Schikaneder feared their creation too closely resembled a new work at the rival Leopoldstadt theater, Kaspar der Fagottist, oder Die Zauberzither (Kaspar the Bassoonist, or The Magic Zither), scheduled to open in early June — it, too, was purported to be drawn from the same Dschinnistan fairy tale. But in a letter to Constanze, Mozart dismissed it as “nothing at all.”

It is more likely that the opera served as spiritual propaganda — the future of the Order was in limbo in the new regime.

The previously tolerant Joseph had already reduced the number of Masonic lodges in Vienna to three, and his reactionary and fearful nephew, Francis ii, would eradicate Freemasonry completely from Austria just a few years later.

Whatever the higher purpose may have been, The Magic Flute was a triumph when it opened on September 30, 1791, and played almost every night well into November. Mozart attended the opera as often as he could and replayed it in his head once bedridden and close to death. His one-time nemesis, Antonio Salieri, now out of the new emperor’s favor, gave it genuine praise. Stylistically, the opera has something for everyone — coloratura opera seria arias (the Queen), simple folk song (Papageno), religious hymn (the Priests’ march), a gripping suicide aria (Pamina), contrapuntal vivacity (the overture) — as well as opportunities for dazzling visual spectacle.

Never having fallen out of fashion, The Magic Flute continues to engage audiences of all ages.

– David Sander

| THE MAGIC FLUTE

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

programming, he needed a hit and counted on Mozart’s celebrity to ensure success both critically and profitably. Schikaneder was a consummate impresario — at once actor, author and composer who also required a substantial, yet simple role for himself. He would become the first Papageno as well as the production’s director and librettist.

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COMPOSER

B OR N Salzburg, January 27, 1756 DI ED Vienna, December 5, 1791

C

| MINNESOTA OPERA mnopera.org

hild wonder, virtuoso performer and prolific creative artist, Mozart is the first composer whose operas have never been out of repertory. His prodigious talents were apparent very early in his life — by the age of four he could reproduce on the keyboard a melody played to him; at five he could play the violin with perfect intonation; and at six he composed his first minuet.

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A musician himself, Wolfgang’s father, Leopold, immediately saw the potential of his son’s talents. With the mixed motives of religious piety and making a tidy profit, Leopold embarked on a series of concert tours showing off the child’s extraordinary talents. Often playing with his sister Maria Anna (“Nannerl”), herself an accomplished musician, young Wolfgang charmed the royal courts of Europe, from those of Austrian Empress Maria Theresa, French King Louis xv and English King George iii, to the lesser principalities of Germany and Italy.

As Mozart grew older, his concert tours turned into a search for permanent employment, but this proved exceedingly difficult for a German musician in a market dominated by Italian composers.

Although many of his early operas were commissioned by Milanese and Munich nobles (Mitridate, Ascanio in Alba, Lucio Silla, La finta giardiniera), he could not rise beyond Konzertmeister of the Salzburg

archbishopric. When the new prince, Count Hieronymus Colloredo, was appointed in 1771, Mozart also found he was released for guest engagements with less frequency.

Though his position improved and a generous salary was offered, the composer felt the Salzburg musical scene was stifling for a man of his enormous talent and creativity.

Things came to a head in 1781 immediately after the successful premiere of Mozart’s first mature work, Idomeneo, in Munich. The archbishop, then visiting Vienna, insisted the composer join him there. Never did Mozart better understand his position in the household than during that sojourn, when he was seated at the dinner table below the prince’s personal valets and just above the cooks. He requested to be permanently discharged from his duties, and after several heated discussions his petition was granted, punctuated by a parting kick in the pants.

“

Child wonder, virtuoso performer and prolific creative artist, Mozart is the first composer whose operas have never been out of repertory.”

Now completely on his own for the first time, Mozart embarked on several happy years. He married Constanze Weber, sister to his childhood sweetheart Aloysia, and premiered a new work, Die Entführung aus dem Serail (The Abduction from the Seraglio), at the Burgtheater. Mozart also gave concerts around Vienna, presenting a number of new piano concertos and symphonies. His chief concern was to procure a position at the imperial court.

A small commission came his way from the emperor for a one-act comedy, Der Schauspieldirektor (The Impresario),

given in the same evening as Antonio Salieri’s Prima la musica e poi le parole (First the music, then the words), to celebrate the visit of the emperor’s sister, Marie Christine, and her husband, joint rulers of the Austrian Netherlands.

The Marriage of Figaro, Mozart’s first true masterpiece for the imperial court, premiered at the Burgtheater in 1786 and then went on to Prague the following year where it was a huge success. Don Giovanni premiered in Prague in 1787 to great acclaim, but its Vienna opening in 1788 was coolly received. By this time, Mozart had received a minor imperial posting, as Kammermusicus, which required him to write dances for state functions. The position was hardly worthy of his skills and generated only a modest income, a weighty concern now that debts had begun to mount. Joseph ii commissioned another opera from Mozart, Così fan tutte, which premiered January 26, 1790. The emperor was too ill to attend the opening and died the following month. His brother, Leopold ii, assumed leadership, and Mozart hoped to be appointed Kapellmeister — instead he merely received a continuance of his previous position.

Crisis hit in 1791. Constanze’s medical treatments at Baden and the birth of a second child pushed their finances to a critical point. Mozart’s friend and fellow Freemason, the impresario Emanuel Schikaneder, suggested he try his luck with the suburban audiences at his Theater auf der Wieden. Composition of The Magic Flute began early that summer but had to be halted when two generous commissions came his way: a requiem for an anonymous patron (who hoped to pass it off as his own composition), and an opera seria to celebrate the new emperor’s coronation as King of Bohemia.

La clemenza di Tito premiered September 6, and The Magic Flute was completed in time to open September 30. The Requiem, however, remained unfinished, and as Mozart’s health began to fail, the composer feared he was writing his own death mass. In December Mozart died at the age of 35 and was given a simple funeral by his impoverished widow, then buried in a mass grave on the outskirts of Vienna.

W. A. Mozart (commons.wikimedia.org/wiki/File:W_a_mozart.jpg#/media/File:W_a_mozart.jpg), via Wikimedia Commons

WOLFGANG AMADEUS MOZART

SUZANNE ANDRADE

PRODUCTION: 1927

Having cut its teeth on the London cabaret scene, in 2007, 1927 premiered its debut show Between the Devil and the Deep Blue Sea at the Edinburgh Festival Fringe achieving audience and critical acclaim, and winning Herald Angel, Fringe First, Arches Brick, Carol Tamber and Total Theatre awards. Following the success and unprecedented demand which followed this Edinburgh debut, over the course of the subsequent three years 1927 went on to present the show in two sell-out London seasons and toured to venues in every region in the United Kingdom and across the globe, visiting major international theaters and arts festivals including Sydney Opera House, Malthouse Theatre Melbourne, Adelaide Cabaret Festival and Perth Festivals (Australia), Under the Radar and Spoleto Festivals (United States), Singapore Festival, Macau Festival, Mladi Levi Festival (Slovenia), Dublin Festival, Belfast Festival, Hannover Festival, Uijeongbu Theatre Festival (South Korea) and the New Zealand Festival.

Along the way, the company steadily developed a huge following of dedicated supporters, was garnered with critical acclaim, received two New York Drama Desk Award nominations and, in 2008, was awarded the Peter Brook Empty Space Award for Best Ensemble.

In 2010, 1927 premiered its second production, The Animals and Children took to the Streets, at Sydney Opera House, followed

by the European premiere at Battersea Arts Centre, London. The premiere seasons garnered critical acclaim across the board, winning the 2011 Off West End Award for Best Entertainment and being nominated for awards including two London Evening Standard Awards. Hugely in demand, between 2011 – 2013, The Animals and Children took to the Streets, has been presented nearly 400 times in 80 venues across 28 countries over five continents, including two sell-out seasons at the National Theatre, London. Internationally the show toured to Australia, Austria, Armenia, Azerbaijan, Belgium, China, Croatia, Denmark, France, Georgia, Hong Kong, Ireland, Italy, Jordan, Latvia, Malta, New Zealand, Nigeria, Russia, Spain, Switzerland, United States, United Arab Emirates and Ukraine, including seasons at festivals including Avignon Festival, New Zealand Festival and Chekhov Festival Moscow.

In 2012, 1927 collaborated with Komische Opera Berlin to create an acclaimed reimagining of The Magic Flute. Following its premiere in Berlin in November 2012, the show continued in rep there while three new productions were mounted at LA Opera, Deutsche Oper am Reihn and Minnesota Opera between November 2013 and April 2014, and just recently, toured in China during October 2015.

The show won two international awards in 2013, and plans are in development for further presentations over the coming three years.

Recently, 1927 premiered a new short film

by Paul Barritt, White Morning, at Sundance and London Short Film Festivals. In London it was nominated for Best British Short Film. The ensemble returned to the National Theatre, London, to present The Animals and Children took to the Streets for a third season and premiered its new theater production, Golem, at the Salzburg Festival, Austria and later premiered a new music and animation collaboration with Ensemble MusicFabrik in Cologne, Germany entitled A Tribute to Krazy Kat, which premiered in Dresden.

Future plans include a tour of Golem across the U.K., reimagining a Stravinsky ballet, reinterpreting a Ravel opera and a new collaboration with Richard Ayres.

1927 is based in London and is an associate

company of the Young Vic Theatre.

More at 19-27.co.uk.

•

She is the founder, with animator Paul Barritt, of the multiple award-winning theater company 1927, which specializes in synchronizing performance and live music with animation and film to create magical theater. She has written and directed two theater productions for 1927 including a new production, Golem.

Between the Devil and the Deep Blue Sea premiered at the 2007 Edinburgh Fringe and has been presented in 13 countries on four continents, including two sellout London seasons. The Animals and Children took to the Streets premiered at the Sydney Opera House in 2010 and has been presented in 79 venues across 27 countries on five continents, including two seasons at the National Theatre.

Recently, 1927 collaborated on The Magic Flute with the Komische Oper Berlin. She is currently developing new work for 1927.

More at 19-27.co.uk.

“

Anyone interested in the theatre should see this company now.”

– The Observer (uk)

PAUL BARRITT

Animation Design

An illustrator and animator, he has been published in Time Out and won an award at the Darklight Film Festival for his short film Shed. He recently finished a commission for a four-screen film project shown at the ica.

Before creating the multiple award-winning theater company 1927 with Suzanne Andrade, they worked on various projects together, including a show taken to the 2006 Edinburgh Fringe as part of a literary cabaret. He has also made several standalone short films based upon Ms. Andrade’s writing, seen at film festivals throughout the United Kingdom and Europe and recently presented his new short film White Morning at Sundance and London Short Film festivals. He has designed all of the animations and films for the 1927 show Between the Devil and the Deep Blue Sea, The Animals and Children took to the Streets and Golem. He is an associate lecturer in animation at Middlesex University.

More at PaulBarritt.com

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is a multi-award winning London based theater company that specializes in combining performance and live music with animation and film to create magical filmic performance.

1927 was founded in 2005 by writer, performer and director Suzanne Andrade and animator and illustrator Paul Barritt.

In 2006, performer and costume designer Esme Appleton and performer, composer and musician Lillian Henley joined and in 2007 producer Jo Crowley began collaborating with the company. All members of 1927 come from different artistic backgrounds, and it is the collaboration between these various disciplines — and the complete integration of these — that has paved the way for the company to create its innovative and original work. 1927 works across the performance fields of theater, opera, music and film.

Director

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THE ARTISTS Esther Bialas

set and costume designer Esther Bialas studied costume design in Hamburg. She has a longstanding collaboration with director Nicolas Stemann, designing costumes for his productions of Hamlet (Schauspiel Hannover), Jelinek’s The Work (Burgtheater, Vienna) and Schiller’s The Robbers (Thalia Theater, Hamburg). Together with director Christiane Pohle, she founded the women’s theater company LaborLavache, presented at the Schauspielhaus Zurich. She has designed for the Basel Theater, Vienna Burgtheater and the Deutsche Theater Berlin for opera productions in Lucerne and Basel as well as for film. Her collaborations with director Barrie Kosky include Strindberg’s A Dream Play at the Deutsche Theater Berlin, Strauss’ The Silent Woman at Munich’s Bavarian State Opera, as well as Ball im Savoy, Seven Songs/The Seven Deadly Sins and West Side Story, all at the Komische Oper in Berlin.

This past summer she designed Hoffmanns Erzählungen (Offenbach) for the Bregenzer Festspiele, directed by Stefan Herheim. Since 2004, she has taught costume design at the Lerchenfeld University in Hamburg.

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Siena Forest

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pamina Soprano Siena Forest appeared as the Dew Fairy in Hansel and Gretel and Frasquita in Carmen with Minnesota Opera during its 2014 – 2015 season. This season, she returns as Echo in Ariadne auf Naxos, the First Wood Sprite in Rusalka and covers Wendy Torrance in The Shining. This past summer, Ms. Forest covered the role of Marie (La fille du régiment) with Mill City Summer Opera. Upcoming in December, she will be the soprano soloist in Handel’s Messiah with the South Dakota Symphony.

In summer 2014, Siena starred as Pamina in The Magic Flute and was the soprano soloist in Beethoven’s Symphony No. 9 with the ok Mozart International Music Festival. In the summer of 2013, she was a studio artist with Central City Opera, where she received an award in honor of Patsy Rose Musser. At cco, she sang scenes as Susanna in Le nozze di Figaro, Euridice in Orfeo ed Euridice, Noémie in Cendrillon and Rose Maurrant in Street Scene. With the Indiana University Opera Theater she has sung Gretel in Hansel and Gretel, Nannetta in Falstaff and Musetta in La bohème.

Michael Christie

conductor Michael Christie became music director of Minnesota Opera in September 2012.

Before coming to Minnesota, he served as music director of the Phoenix Symphony (2005 – 2013), the Brooklyn Philharmonic (2001 – 2013), the Queensland Orchestra (Brisbane, Australia; 2000 – 2004) and the Colorado Music Festival in Boulder (2001 – 2013).

Recent opera engagements have included productions with Opera Theatre of Saint Louis (Alice in Wonderland, The Ghosts of Versailles and The Death of Klinghoffer), Wexford Festival Opera (Silent Night and The Ghosts of Versailles), Minnesota Opera (La traviata, Wuthering Heights, Silent Night, Madame Butterfly, Nabucco, Anna Bolena, Turandot, Manon Lescaut, Arabella, Macbeth, La fanciulla del West, The Manchurian Candidate, Carmen and Ariadne auf Naxos) and Aspen Opera Theatre (The Ghosts of Versailles and West Side Story). He has also conducted at Opéra de Montréal and Opera Philadelphia (Silent Night) and Lyric Opera of Chicago (Rising Stars). He made his San Francisco Opera debut conducting the world premiere of The Gospel of Mary Magdalene.

Michael lives with his family in Minneapolis.

Jeni Houser

queen of the night Soprano Jeni Houser recently performed Naiad and the Sunday performance of Zerbinetta in Ariadne auf Naxos, and will also sing Mrs. Grady in the world premiere of The Shining for Minnesota Opera in May. She returns to Madison Opera this February as Amy in Little Women, and later in April, debuts with Madison Symphony as soprano soloist in Carmina burana. Jeni recently made her debut at Lyric Opera of Chicago in The Magic Victrola, singing Olympia’s aria from Les contes d’Hoffmann. Of her performance, the Chicago Tribune writes, “Houser, who had been enlisted at the eleventh hour […], sang sweetly, her top notes securely placed.”

At Glimmerglass, Jeni recently performed the Queen of the Night in a young artist performance, covered Cunegonde in Candide and performed Naiad and covered Zerbinetta in Ariadne auf Naxos, where the nymphs “were a delight to the eye and ear” (cny Café Momus).

Other credits include Cunegonde in excerpts from Candide and Johanna in Sweeney Todd with Madison Opera, and Frasquita in Carmen with Virginia Opera.

Tracey Engleman

papagena With a voice the Boston Globe called “extraordinary in range, tonal quality, musicianship and dramatic effect,” soprano Tracey Engleman has gained a reputation for excellence in opera, recital and concert. As a frequent performer in Minneapolis and Saint Paul, she has received rave reviews for her operatic work. The St. Paul Pioneer Press wrote that Ms. Engleman’s “clear, powerful high notes unleash all the desired adrenaline and misty romanticism the score demands,” and The Wall Street Journal has written that she sings with “crystalline purity.” Recent roles include Isabella Smith in The Ladysmith Story, a contemporary opera by Christopher Gable; Julie in The New Moon with Music by the Lake; Kathy in The Student Prince with Skylark Opera; Ofglen in The Handmaid’s Tale, the Page in Rigoletto and the Girl in the Bed in Casanova’s Homecoming with Minnesota Opera; the School Teacher in Ainadamar with the Los Angeles Philharmonic; Adina in L’elisir d’amore and Norina in Don Pasquale with the Rochester Aria Group; and Elvira in I puritani with Minnesota Concert Opera. She reprises the role of Papagena for today's performance.

Barrie Kosky

production Since 2012 Barrie Kosky has been the Intendant and Chefregisseur of the Komische Oper Berlin which was voted Opera House of the Year by 50 international opera journalists that first season. He has also received the Laurence Olivier Award (2012) and the International Opera Award (2014). Mr. Kosky’s work in Berlin has included The Monteverdi Trilogy, The Magic Flute, Ball im Savoy, Rusalka, Iphigenie in Tauris, Kiss Me, Kate, Rigoletto, The Marriage of Figaro, Seven Deadly Sins, West Side Story, Le grand macabre, Castor and Pollux, Moses und Aron and Les contes d’Hoffmann. In 2017, he will direct Die Meistersinger von Nürnberg at Bayreuth.

Mr. Kosky has directed at the Bayerischer Staatsoper, Berlin Staatsoper Unter den Linden, Netherlands Opera, Oper Frankfurt, LA Opera, English National Opera, Vienna Staatsoper, Oper Graz, Staatsoper Hannover, Aaalto Oper Essen, Deutsches Theater Berlin and the Schauspielhaus Frankfurt. Future plans include engagements at the Royal Opera House Covent Garden, Glyndebourne,Teatro Real, Bayerischer Staatsoper, Oper Zürich, Oper Frankfurt and Finnish National Opera.

THE ARTISTS monostatos Tenor John Robert Lindsey is quickly becoming known for his dynamic acting and powerful voice. Past engagements include the Third Jew in Salome, Nick in La fanciulla del West, Marvin Heeno in the world premiere of the revised The Dream of Valentino by Dominick Argento, Malcolm in Macbeth, Count Elemer in Arabella, Edmondo in Manon Lescaut, Pang in Turandot, Ismaele in Nabucco, Jonathan Dale in the Pulitzer Prize-winning production of Silent Night, Don José in Carmen, Sam Polk in Susannah and the Stage Manager in Rorem’s Our Town, as well as covers of Dick Johnson in La fanciulla del West, Steva in Jenufa, Macduff in Macbeth, Matteo in Arabella and Des Grieux in Manon Lescaut. On the concert stage, he has performed as tenor soloist in Beethoven’s Symphony No. 9, Verdi’s Requiem, Parables by Robert Aldridge and Herschel Garfein, Mozart’s Requiem and Mass in C Minor and Handel’s Messiah. This past summer, he participated in the International Competition for Wagnerian Voices in Bayreuth.

Future engagements include debuts with Opera San Jose, Austin Opera and Michigan Opera Theatre.

He returns to Minnesota Opera in May to sing the role of Lloyd in the world premiere of The Shining.

Tobias Ribitzki

stage director After his studies in theater and media science in Bochum, Tobias Ribitzki worked as an assistant and performance director at the Landestheater in Linz, at the Staatsoper Hannover and at the Komische Oper Berlin.

At the Landestheater Linz, he directed as a coproduction with Linz09 the world premiere of the opera Picknick im Felde. At the Junge Oper Hannover he directed the 2011 world premiere of Freunde!, and in 2012, the world premiere of Der Teufel mit den drei goldenen Haaren, as well as the monodrama La voix humaine at the Cumberlandsche Galerie Hannover and the Theater Kiel. Last season, he directed Léa, Papy et le piano céleste for the Philharmonie Luxembourg and Blitzstein’s Triple-Sec and Gershwin’s Blue Monday at the Konzerthaus Berlin in cooperation with the Komische Oper.

Mr. Ribitzki has previously staged the Komische Oper Berlin’s The Magic Flute at Los Angeles Opera and at Minnesota Opera (2014). In 2015 – 2016, he will also stage it at the Teatro Real Madrid and at the Finnish National Opera Helsinki, as well as Alcina at the Staatstheater Wiesbaden and La clemenza di Tito at the Staatsoper Hannover.

Andrew Lovato

papageno The New York Times labeled Mr. Lovato, “the winning baritone” and has been described by Ricky Ian Gordon as, “One of the most connected and beautiful voices I have ever heard.” Mr. Lovato premiered the role of Harry Engel in Ricky Ian Gordon’s Morning Star in his Cincinnati Opera debut. He will be singing the role of Slim in Of Mice and Men with Austin Opera and returns as Young Raymond and the Nominee in its production of The Manchurian Candidate. He recently returned to Minnesota Opera to perform the role of Harlequin in Ariadne auf Naxos and during the season appears as Angelotti in Tosca and covers the role of Jack Torrance in the world premiere of The Shining. Mr. Lovato made his Minnesota Opera debut as the role of Sonora in La fanciulla del West and subsequently performed Young Raymond in the world premiere of The Manchurian Candidate by Kevin Puts and Mark Campbell as well as Le Dancaïre in Carmen with the company. He is the winner of the George L. Hackett Prize in the Livingston Mather Competition. For more information, please visit AndrewLovato.com.

Benjamin Sieverding

sarastro Bass Benjamin Sieverding has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), "natural gift for comedy” and “full, rich sound” (Ann Arbor Observer). This season he joins Minnesota Opera, appearing as Truffaldino in Ariadne auf Naxos, Sarastro in The Magic Flute, the Sacristan in Tosca, and the Ranger and the Man-in-dog-mask in The Shining.

Most recently, Sieverding reprised the roles he created in Theodore Morrison’s Oscar with Opera Philadelphia and made his role debut as Il Commendatore in Don Giovanni, performing as a guest artist with the University of Alabama Opera Theatre.

An Apprentice Artist with The Santa Fe Opera for two seasons, Sieverding made his company debut in three roles for the world premiere of Oscar. As one of the infirmary patients, Sieverding “lent heart-choking realism” to the role (Bay Area Reporter), and the Huffington Post called it “the single most moving scene in the opera.” He received the company’s 2013 Ruth Freehoff Award.

Also with with Santa Fe, Sieverding covered the title role in Don Pasquale, Herr Puff in The Impresario and the Chamberlain in Le Rossignol.

Shannon Prickett

second lady Soprano Shannon Prickett has appeared as the Fortuneteller in Arabella, the Lady-in-waiting in Macbeth, the Woman in Red in The Dream of Valentino, Giannetta in L’elisir d’amore, Dora in The Manchurian Candidate and Micaëla in Carmen for Minnesota Opera.

She returns as the Second Lady in The Magic Flute, the Foreign Princess in Rusalka and Mrs. Massey in The Shining. Hailed as a soprano with “… a vocalism that is rich and unforced, equally capable of a sudden drop to a sustained whisper or being ratcheted up to a thrilling forte without a hint of strain …” by Madison Magazine, Shannon completed her master’s degree in opera, singing the title role in Médée and Suzel in L’amico Fritz. In 2012, she performed the title role of Suor Angelica in Siena (Italy) and advanced to the regional competition of the Metropolitan National Council Opera Auditions, in which she received third place. At the University of Wisconsin, Shannon was the soprano soloist in Verdi’s Requiem as well as Mimì in La bohème and Donna Elvira in Don Giovanni. In 2010, she made her debut at Des Moines Metro Opera, singing the role of the Lady-in-waiting in Verdi’s Macbeth.

Tricia Van Ee

first lady Soprano Tricia Van Ee has been a resident artist at Opera Omaha, where she appeared as Kate in The Pirates of Penzance.

She holds music degrees from Dordt College and the University of Minnesota, where she sang many principal roles: Donna Anna in Don Giovanni, Mimì in La bohème, Miss Jessel in The Turn of the Screw, Antonia in Les contes d’Hoffmann, Madame de Tourvel in The Dangerous Liaisons and Naiad in Ariadne auf Naxos. She has regularly performed at the Minnesota Opera since 2010 as a member of the ensemble.

On the concert stage, Ms. Van Ee has been heard as a featured soloist with Omaha Symphony Orchestra, Minnesota Concert Opera and Northwest Iowa Symphony Orchestra, and as Micaëla in a concert version of Carmen with the Mankato Symphony Orchestra.

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John Robert Lindsey

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THE ARTISTS Victoria Vargas

third lady Mezzo-soprano Victoria Vargas was most recently seen at Minnesota Opera as Mrs. Lowe in The Manchurian Candidate and as the title role in Carmen. Previously, she has sung Tisbe in Cinderella, Anna in Mary Stuart, Flora in La traviata, Nelly in Wuthering Heights, Alisa in Lucia di Lammermoor, Suzuki in Madame Butterfly, Fenena in Nabucco, Smeton in Anna Bolena, Adelaide in Arabella, Rambova in The Dream of Valentino and the Third Lady in The Magic Flute. She has also appeared as Carmen with Lyric Opera of the North. At Chautauqua, Ms. Vargas has appeared as Laura in Luisa Miller and the Second Lady in Die Zauberflöte, and covered Mamma Lucia in Cavalleria rusticana. She has also been at Opera Theatre of Saint Louis, covering the role of Ruth in The Pirates of Penzance, and in 2013, was a second place Upper Midwest regional finalist at the Met auditions. Most recently, Ms. Vargas appeared as Kate Pinkerton in Minnesota Orchestra’s Madame Butterfly and as a soloist with the Phoenix Symphony. She will soon debut with the South Dakota Symphony and will sing Dido in Dido and Aeneas with MacPhail Center and the University of Minnesota.

| MINNESOTA OPERA mnopera.org

David Walton

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tamino Tenor David Walton returns to Minnesota Opera for the 2015–2016 season, most recently as Brighella in Ariadne auf Naxos, Il Postiglione in La fanciulla del West and Ed Mavole in the world premiere of The Manchurian Candidate. Later he will perform the roles of the Huntsman in Rusalka, Spoletta in Tosca and Delbert Grady in the world premiere of The Shining. He has sung Rinuccio in Gianni Schicchi and Marco in The Gondoliers with the Ole Miss Opera Theatre in Oxford, Mississippi and also has appeared as Tamino (The Magic Flute) and Ernesto (Don Pasquale) with Atlantic Music Festival. He spent three years with the Cantus Vocal Ensemble in Minneapolis and participated as a Gerdine Young Artist this past summer with Opera Theatre of Saint Louis, covering Matthew Gurney in Emmeline. Mr. Walton recently toured Azor in Grétry’s Zemire et Azor with Opera for the Young and was a regional finalist in the Upper Midwest Metropolitan Opera National Council Auditions.

Minnesota Opera Orchestra Violin I

Cello

Bassoon

Allison Ostrander Concertmaster

Teresa Richardson

Coreen Nordling

Natalia Moizeeva Assistant Concertmaster

Rebecca Arons

Laurie Hatcher Merz

Kirsten Whitson

Julia Persitz David Mickens Angela Waterman Hanson Heidi Amundson Conor O’Brien Colin McGuire

Violin II Laurie Petruconis Elizabeth Decker

Dale Newton

Timothy Bradley

Bass

Margaret Humphrey Elise Parker

Viola Emily Hagen Susan Janda Laurel Browne

Charles Hodgson

John Michael Smith Constance Martin

Trumpet John G. Koopmann

Flute

Christopher Volpe

Michele Frisch Amy Morris double piccolo and pan flute

Stephan Orsak Melinda Marshall

Horn

Oboe Michael Dayton Jeffrey Marshak

Clarinet Karrin Meffert-Nelson Nina Olsen

Coca Bochonko

Trombone Phillip Ostrander John Tranter David Stevens

Timpani Kory Andry

Offstage Percussion Matthew Barber

Piano; Keyed Glockenspiel Lindsay Woodward

Minnesota Opera Chorus Matthew Abbas

Hye Won Kim

Grant Scherzer

Alex Barnett

Elizabeth Kohl

Ashley Sievers

Michael Burton

Rick Latterell

Jonathan Sill

Corissa Bussian

Laura LeVoir

Justin Spenner

Lisa Butcher

Michelle Liebl

Lauren Stepka

Christina Christensen

Maggie Lofboom

Kelly Turpin

Deanna Davis

Elizabeth Longhurst

Colyn Tvete

Stefan Egerstrom

Michael Mayer

Eryn Tvete

Jason Hernandez

Jessica Nesbit

Lu Zang

Benjamin Hills

Tyler Raad

Tracey Zavadil

Timothy James

Alex Ritchie

Supernumeraries Molly Boynton, Thomas Lorendo, Tom Ringberg

Tell us about the first time you heard or saw an opera.

AL I remember watching the opera Billy Budd by Benjamin Britten with a friend of mine on dvd; it was the Philip Langridge, Thomas Allen cast.

Everyone was so pure, so honest in their performances. I just kind of got swept along with what was going on … the complexity and tragedy of the story is overwhelming.

It deeply changed my view of opera and its potential. Now I can’t get enough of that level of deep expression and honesty.

Production Images: The Magic Flute, 2014 © Michal Daniel for Minnesota Opera

What are the underlying elements of this story that audiences can relate to today?

AL The story of The Magic Flute is one of peril, courage and overcoming dangerous forces that are seemingly always lurking.

The main characters are armed with the power of music to protect them, but that could easily be translated as the power of passion and a commitment to love and beauty. I think struggle and the quest for beauty and meaning is an unquestionably timeless theme. There is a real struggle running through each of the characters in this show — real pain, real fear — and it’s thrilling to see them overcome this and find moral strength and happiness.

Who is Papageno?

AL Papageno is a wonderful fellow. He is seemingly without self-control and is governed by an extreme impulsivity which makes his blunders kind of funny. He just can’t help himself. Yet he too is redeemed and is able to achieve his initial wish of finding someone to love and spend his life with.

I think Papageno is so charming, and loveable to the core.

What puts the “magic” in The Magic Flute?

AL The fantastic cast performing The Magic Flute in Duluth, of course!

The magic of the flute is the call for beauty.

Whatever differences we have can be overcome by the shared sense of the beauty of life.

If you hadn’t become a singer, what would you be doing?

AL I played the cello in high school and college to a fairly high level. I would have loved to have taken it further and developed it as a solo instrument. Outside of music, it’s hard to tell what I would be doing.

(LEFT) AS YOUNG RAYMOND IN THE MANCHURIAN CANDIDATE, 2015 © MICHAL DANIEL

(SECOND FROM THE LEFT) AS HARLEQUIN IN ARIADNE AUF NAXOS, 2015 © DAN NORMAN

I felt pretty unsure and without much direction when I was younger, and I latched on to music pretty quickly.

How crucial is the role of arts in education for children?

AL I think every person has so many facets to them, so many interests and so many talents to explore. Music is one of these facets for children to potentially explore and develop. Some of the best times of my life were playing in an orchestra and singing in choir. There is community there, shared interests, a deep emotional connection, and, in the context of The Magic Flute, brotherhood. Everyone is striving and working hard, suffering for the same goal. It’s a thrilling, wonderful part of life. Providing those experiences within the educational system is pretty important and has the potential to yield profound results.

What do you love about working with Minnesota Opera?

AL My colleagues are the best in the business, and it is an honor to work with and learn from them every day. The Opera’s music staff is world class, and they bring a level of experience and talent I didn’t know was possible. They teach a depth of music I didn’t know existed. Mastery of anything is critical in one’s life; just attempting mastery is one of the most thrilling journeys one can embark on. The Minnesota Opera has offered me an opportunity to become a greater interpreter and person. I feel honored to be a part of it.

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Andrew Lovato

(RIGHT) AS SONORA IN LA FANCIULLA DEL WEST, 2014 © MICHAL DANIEL

MEET THE ARTIST

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BOARD OF DIRECTORS

STAFF, BOARD AND VOLUNTEERS

OFFICERS

MINNESOTA OPERA STAFF

Chair | James E. Johnson General Director | Nina M. Archabal Vice Chair | Margaret Wurtele Secretary | Robert Lee

General Director | Nina M. Archabal Artistic Director | Dale Johnson Music Director | Michael Christie

Treasurer | Christopher Romans

Richard Allendorf Nina M. Archabal Patricia Beithon Daniel Blanco Karen Brooks Bernard J. Brunsman Jane M. Confer Sara Donaldson Sidney W. Emery Sharon Hawkins Ruth S. Huss Mary IngebrandPohlad Philip Isaacson James E. Johnson Patricia Johnson John C. Junek Christine Larsen

Cynthia Y. Lee Robert Lee Leni Moore Albin “Jim” Nelson Kay Ness Jose Peris Elizabeth Redleaf Connie Remele Don Romanaggi Christopher Romans Mary H. Schrock Linda Roberts Singh Nadege Souvenir David Strauss Virginia Stringer H. Bernt von Ohlen Margaret Wurtele

Artistic Administrator | Roxanne Stouffer Artist Relations and Planning Director | Floyd Anderson Dramaturg | David Sander Head of Music | Robert Ainsley Resident Artists | Jonathan Brandani, Siena Forest, Jessica Hall, Jeni Houser, Andrew Lovato, Shannon Prickett, Nickolas Sanches, Benjamin Sieverding, David Radamés Toro, David Walton, Lindsay Woodward Master Coaches | Lara Bolton, Mary Jo Gothmann, Eric McEnaney

EMERITI John A. Blanchard III

Mary W. Vaughan

Burton Cohen

Dominick Argento

Norton M. Hintz

Philip Brunelle

Liz Kochiras

Dolly Fiterman

Patricia H. Sheppard

| MINNESOTA OPERA mnopera.org

Assistant Stage Managers | Jamie K. Fuller, Evelyn Rossow Tour Manager | Julia Gallagher Production Assistant | Lorely Dedrick

ADMINISTRATION Finance Director | Jeff Couture Operations/Systems Manager | Steve Mittelholtz HR/Accounting Manager | Jen Thill Director of Board Relations | Theresa Murray Finance Associate | Dylan Howell

DEVELOPMENT Institutional Gifts Manager | Jaden Hansen

Assistant Costume Director / Dresser | Beth Sanders

Special Events Manager | Kristine Migely

Individual Gifts Manager | Krystal Kohler Development Associate | Danielle Ricci Institutional Gifts Associate | Diana Konopka

Draper / Wig and Makeup Run Crew | Emily Rosenmeier First Hands / Dressers | Helen Ammann, Kelsey Glasener, Rebecca Karstad Stitcher / Dresser | Ann Habermann Stitcher / Wig and Makeup Run Crew | Sara Huebschen Wig and Makeup Supervisors | Priscilla Bruce, Amanda Clark, Manuel Jacobo

EDUCATION Community Education Director | Jamie Andrews Teaching Artist | Alisa Magallón Project Opera Music Director | Dale Kruse Project Opera Accompanist | Kathy Kraulik Project Opera Program Manager | Lorely Dedrick

MARKETING/COMMUNICATIONS

Wig and Makeup Run Crew | Dominick Veldman

Senior Marketing and Communications Director | Kyle Clausen

LEGAL COUNSEL

SCENERY

Marketing Assistant | Kate Saumur

James A. Rubenstein, Moss & Barnett

Technical Director | Mike McQuiston Properties Master | Jenn Maatman

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Production Stage Manager | Kerry Masek

Costume Director / Wardrobe Supervisor | Corinna Bohren

Stitcher | Annie Cosper

HONORARY DIRECTORS

Production Director | Karen Quisenberry

Chief Development Director | Carley Stuber

Draper | Chris Bur Julia W. Dayton

PRODUCTION

COSTUMES

Tailor | Yancey Thrift

Karen Bachman

Projections Technician | Martin Reitz

Video Stage Manager | Hannah Holthaus

ARTISTIC

DIRECTORS­­­­­

Charge Painter | Angelique Powers

Marketing Director | Katherine L. Castille Program Manager, Marketing and Communications | Kristin Matejcek

Properties Assistant | Michael C. Long

Communications Associate | Eric Broker

TEMPO BOARD MEMBERS

Lighting and Video Coordinator | Raymond W. Steveson Jr.

Ticket Office Manager | Kevin Beckey

Production Carpenter | JC Amel

Associate Ticket Office Manager | Karl Annable

OFFICERS

Scene Shop Foreman | Larry Kline

Chair | Jennifer Engel

Master Carpenters | Nate Kulenkamp, Eric Veldey

Ticket Office Assistants | Carol Corich, Brian Johnson-Weyl, Johanna Owen

Audience Development Co-chair | Chrissi Reimer Audience Development Co-chair | Jana Sackmeister Programming Chair | Thomas Bakken Staff Liaison | Kristin Matejcek Secretary | Alexis DuPlessis Treasurer | Faris Rashid

MEMBERS Brad Benoit Kamruz Darabi Melissa Daul Kara Eliason Mark Giga

Laura Green Brian Halaas Rhonda Skoby Aimee Tritt

Data Specialist | Rosalee McCready

MINNESOTA OPERA VOLUNTEERS The following volunteers contribute their time and talent to support key activities of the company. Get involved with Bravo! Volunteer Corps at mnop.co/volunteer, or email volunteering@mnopera.org for more information.

Lynne Beck Gerald Benson Debra Brooks Jerry Cassidy Judith Duncan Jane Fuller Joan Gacki

Merle Hanson Robin Keck Mary Lach Jerry Lillquist Joyce Lillquist Melanie Locke Suzan Lynnes

Mary McDiarmid Barbara Moore Douglas Myhra Candyce Osterkamp Pat Panshin Sydney Phillips Kari Schutz

Janet Skidmore Wendi Sott Stephanie Van D’Elden Barbara Willis

Minnesota Opera is a proud member of The Arts Partnership with Ordway Center for the Performing Arts, The Saint Paul Chamber Orchestra and The Schubert Club.

INSTITUTIONAL GIVING

minnesota opera sponsors Official Make-Up Partner Production Innovation System General Mills

Resident Artist Program Wenger Foundation

Tempo Print Sponsor Press Sure Print

Production Support

Minnesota Opera gratefully acknowledges its major institutional supporters: $100,000 +

Minnesota Power Maurices

Touring Support

Minnesota State Arts Board

Tempo After Parties Sakura

corporations, foundations and government 3M Foundation Ameriprise Financial Inc. Aroha Philanthropies f.r. Bigelow Foundation Cargill Foundation The Ruth Easton Fund General Mills Foundation Knight Foundation The McKnight Foundation Medtronic Philanthropy through Medtronic Foundation The Andrew W. Mellon Foundation Minnesota State Arts Board National Endowment for the Arts The Saint Paul Foundation Target United Health Foundation Wenger Foundation

Platinum $10,000 – $24,999 The Aaron Copland Fund for Music Inc. Ascent Private Capital Management of U.S. Bank Fred C. and Katherine B. Andersen Foundation Dorsey & Whitney Foundation Ecolab Foundation Ann and Gordon Getty Foundation MAHADH Fund of HRK Foundation The Opera Fund, a program of OPERA America Pine River Capital Management l.p.

Rahr Foundation Securian Foundation Travelers U.S. Bank Foundation Wells Fargo Foundation Minnesota Xcel Energy Foundation

Gold $5,000 – $9,999

Best Buy Children’s Foundation Boss Foundation Briggs & Morgan p.a.

Dellwood Foundation

Hardenbergh Foundation Harlan Boss Foundation for the Arts Anna M. Heilmaier Charitable Foundation r.c. Lilly Foundation Mayo Clinic Maslon llp The Carl and Eloise Pohlad Family Foundation RBC Wealth Management Rothschild Capital Partners James Rubenstein, Moss & Barnett Schwegman, Lundberg & Woessner p.a.

Silver $2,500 – $4,999

Anonymous Faegre Baker Daniels Fredrikson & Byron Foundation Hutter Family Foundation Margaret Rivers Fund Morgan Family Foundation Maurices Minnesota Power Peravid Foundation The Elizabeth C. Quinlan Foundation Robins Kaplan llc Squam Lake Foundation Tennant Foundation Thomson Reuters

$50,000 – $99,999

$25,000 – $49,999

$10,000 – $24,999

Bronze $250 – $2,499

Carlson Family Foundation Enterprise Holdings Foundation Hammel, Green and Abrahamson Inc. Longview Foundation McVay Foundation Onan Family Foundation Sit Investment Foundation Wells Fargo Insurance Services

In-Kind Donations Dunn Bros. Coffee Jefferson Lines

production multimedia Publicity Photographer | Brent Dundore Production Photographer | Dan Norman Videographer | Flight Creative Media Broadcast Recording

Event Photographer | CJ Standish

For information on making a corporate or foundation contribution to Minnesota Opera, please contact Jaden Hansen, Institutional Gifts Manager, at 612.342.9566 or email him at jhansen@mnopera.org.

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Sponsors $25,000+

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

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If you enjoyed today’s show, you’ll love the rest of our season!

Save 25%*

on tickets regularly $50 or more Use code duluth 25

Rusalka Jan. 23, 28, 30 and 31, 2016

Dvořák’s most lyrical music shimmers with luminous arias and folk melodies, juxtaposing the mythical world of the water nymph Rusalka with the mortal world of her love, the prince.

Tosca

Mar. 12, 13, 17, 18, 19, 20, 24 and 26, 2016

Puccini’s crowning jewel brims with sumptuous music and unforgettable drama in a spellbinding tale of deceit, love and honor.

The

Shining

May 7, 12, 14 and 15, 2016

A thrilling world premiere, based on the bestselling novel by Stephen King, comes to the Opera stage with libretto by Mark Campbell (Silent Night and The Manchurian Candidate) and music by Pulitzer Prize-winning composer Paul Moravec. *Valid on up to 4 tickets regularly priced $50 and above.

Good on tickets to Rusalka, Tosca or The Shining.

Offer expires May 15, 2016.

mnopera.org 612-333-6669 Ticket Office: M–F, 10am–5pm